617. Rainbow / Ritchie Blackmore's Rainbow. 1975. 4/5

Having grown disillusioned with the direction (and I imagine his declining role of power) that Deep Purple was taking, guitarist extraordinaire Ritchie Blackmore decided to put out a solo single. For the job of helping to record it, he aimed to recruit the majority of the band that had acted as Deep Purple's support act in recent times, Elf. In turn, the decision by Blackmore to record a solo single soon changed. Instead, he quit Deep Purple, and decided to record an entire album with his new musical acquaintances, forming a new band called Ritchie Blackmore's Rainbow (which was soon shortened to the now-known Rainbow).

This album, Ritchie Blackmore's Rainbow, was the start of a lot of things that proved to be the betterment of the heavy music genre. Firstly, it was the revitalisation of Blackmore's career, kickstarting his enthusiasm and disposing of his stagnancy, which not only went on to produce a magnificent Rainbow discography, but eventually provided the impetus for the second coming of the band that he had just quit. Secondly, it was the real beginning, after almost twenty years in the industry, of the defining years of one of the greatest ever vocalists, Ronnie James Dio. With Blackmore's influence, Dio finally found his niche and began to write and perform the songs that he was meant to sing. Finally, a band emerged, in the main because of Blackmore and Dio, that went on to influence generations of musicians who came after them, and the music that they subsequently created.

All that being said, this isn't the perfect album, caught as it is somewhere between the old and the new. It kicks off with the legendary "Man on the Silver Mountain", still one of the best known riffs in the metal age. It is still a classic even today, kept alive for so long by always being in Dio's solo tours.
"Self Portrait" is an average song, with nothing memorable but not out of place. This is followed by "Black Sheep of the Family", the Quartermass cover that Blackmore had wanted to record with Deep Purple (he was voted down) and had then decided to record as his solo single. One still wonders what fascinated Blackmore so much about this song. Dio's vocal is as brilliant as always, but it just isn't really in the style of the rest of the album. It's enjoyable enough, but the rockabilly style doesn't really fit.
The amazing "Catch the Rainbow" follows, and proves that you can do a slower, melodic tune and still retain the integrity of the band. Dio's vocals soar here in a brilliant showcasing of his amazing range, while Blackmore's guitaring appears understated on the surface, but actually drives the emotional strings of the song. Pure genius.

"Snake Charmer" almost sounds like it was meant for Deep Purple, with the bassline running through the song reminiscent of something that Roger Glover may have played. It also has a concerted guitar solo without the keyboard backing. "The Temple of the King" is the second of the great slow melodic songs on this album, with Blackmore experimenting with strings throughout the song, and Dio's vocals driving it along in sheer beauty. Even in quieter songs, the power of Dio's voice is remarkable
"If You Don't Like Rock n Roll" is almost pure Elf, those rockabilly keys really showing where this song was anchored. It probably isn't a good fit here either, but it is all a part of the transition process that was happening.

"Sixteenth Century Greensleeves" is another classic, originally written to be the B-side to "Black Sheep in the Family". Again it is the Blackmore and Dio combination that make this a wonderful song.
The album closes out with an instrumental-only version of The Yardbirds "Still I'm Sad", which is a strange decision, given that they possessed Ronnie James Dio in the band. Why not utilise him? When they played it live, Dio always sang it, and it sounds awesome. This version is good, but Dio singing it would have made it much better.

Overall, this is a terrific opening for the band, and having shaken off the dust of this first album, Dio and Blackmore then went on to produce two of the best albums of all time before their partnership concluded.